Categoría: Billboard

Justin Bieber is showing off how yummy, yummy, yummy he thinks Hailey Bieber is. In a carousel of Instagram photos posted Tuesday (Sept. 23), the pop star holds his wife in his arms as the Rhode founder wraps her legs around him, raising an arm in the air. The snaps appear to have been taken in Coachella Valley, where the singer filmed his new music video for “Speed Demon” after being announced as a headliner for Coachella 2026. In one of them, Justin holds his one-year-old son, Jack Blues, as they watch Hailey wander the grounds farther ahead of them. The Grammy winner also shared a couple of pictures taken at home, including one in which the model straddles her superstar husband as he sits in a chair. Next year’s Coachella is already sold out, with Justin slated to headline alongside Sabrina Carpenter and Karol G. The performances on back-to-back Saturdays in April will mark the Canadian musician’s first concerts since 2022. Once he does take the stage, Justin will have plenty of material to choose from for his setlist. The vocalist dropped not one but two albums this year, unleashing Swag in July followed by Swag II earlier in September. The first LP debuted at No. 2 on the Billboard 200. Justin’s family has been a key focus in the rollout for both albums. The couple and their son posed for sweet photos that accompanied both LP announcements, appearing on billboards in cities. The singer also recently gave fans a peek into his and Hailey’s family values. On Sept. 15, he shared a list titled “The Bieber Family,” featuring affirmations such as “We value Rest as Worship” and “We value HUMAN beings and believe in their dignity and eternal worth.” Get weekly rundowns straight to your inbox Sign Up Source link

Vince Gill debuts two versions of his classic, poignant track “Go Rest High on That Mountain” on Billboard’s Country Digital Song Sales chart. Related “Go Rest High on That Mountain (Extended Version)” bows at No. 5 on the list dated Sept. 27 with 2,000 downloads sold in the week ending Sept. 18, according to Luminate. The updated cut, which Gill performed with Lainey Wilson during the Sept. 14 Primetime Emmy Awards, broadcast on CBS, gives Gill his second-highest showing yet on the tally (which began in 2010), behind his collaboration with Maren Morris, “Dear Hate,” which led for a week in 2017. Meanwhile, the original “Go Rest High on That Mountain” joins the new mix in the Country Digital Song Sales top 10 at No. 8, up 242% to 1,000 sold. Released in 1995, the track reached No. 14 that December on Hot Country Songs, where Gill boasts 28 top 10s, including five No. 1s. The extended release coincides with the song’s 30th anniversary and introduces a third verse that Gill first shared live at Nashville’s Ryman Auditorium in 2019. He began writing the track in 1989 following the death of country star Keith Whitley, completing it years later after the passing of Gill’s brother. The result was a career-defining ballad that went on to earn multiple Grammy Awards and one that has remained a cornerstone of his catalog. While fans have heard the additional lyrics in concert over the past several years, the new version marks the first time they’ve been available in a studio recording. The release adds fresh perspective to a song that has endured as both a personal tribute and a country standard. It’s free Billboard charts month! Through Sept. 30, subscribers to Billboard’s Chart Beat newsletter, emailed each Friday, can unlock access to Billboard’s weekly and historical charts, artist chart histories and all Chart Beat stories simply by visiting the newly redesigned Billboard.com through any story link in the newsletter. Not a Chart Beat subscriber? Sign up for free here. Daily newsletters straight to your inbox Sign Up Source link

Two-time Country Music Association entertainer of the year champion Luke Combs and his wife Nicole are expecting their third child, the couple revealed in a social media video on Tuesday (Sept. 23). Explore See latest videos, charts and news The sweet clip depicted the couple surprising their two sons, Tex Lawrence (born in 2022) and Beau Lee (born in 2023), with the news that the couple is expecting a new addition to their family. In the video, Luke, Nicole and their sons are sitting on the grass outside. The couple shows their sons a series of ultrasound photos, as the two boys raise their hands to the air in excitement. The couple ends with Luke, Nicole, Beau and Tex holding hands and walking away from the camera, with the ultrasound photos, draped over a stool, in the video’s foreground. The couple captioned the video with “Third time’s a charm! Baby #3 coming this winter.” Luke and Nicole wed in 2020. Among the people commenting on the video clip was Combs’ “Backup Plan” collaborator Bailey Zimmerman, who commented, “YOOOO OH MY GOSHHH,” accompanied by a heart emoji. Jordan Davis commented, “LETS GOOOOOOO…Congrats Fam.” Other artists who offered congratulations included duo Tigirlily Gold, Hailey Whitters and Charles Wesley Godwin. Combs recently shared the Tyler Adams-directed video for his new single, the Billboard Country Airplay top 10 hit “Back in the Saddle,” featuring NASCAR legends Richard Petty and Dale Earnhardt Jr. Combs, who wrote “Back in the Saddle” with Dan Isbell and Jonathan Singleton, said in a statement about the video, “So much work goes into making these songs, so much time we spend making them, from the studio writing them to the videos. I got to make the video with Dale Jr. and Richard Petty, which is a total dream come true. My grandpa would be rolling over in his grave in a good way if he knew that I got to hang out with Richard Petty and Dale Jr.” Source link

Ciza always knew his time to rule would come. His father Thembinkosi “TK” Nciza co-founded TS Records in 2001 with Sbusiso Leope, a radio DJ and TV presenter better known as DJ Sbu. And his mother Nhlanhla Mafu served as the lead vocalist for the Afropop group Mafikizolo, whose 2013 international hit “Khona,” featuring fellow South African kwaito group Uhuru, won record of the year at the South Africa Music Awards and song of the year at the MTV Africa Music Awards in 2014, while Mafikizolo earned a best international act: Africa nomination at the BET Awards later that year. Explore See latest videos, charts and news But the artist and DJ born Nkululeko Nciza hasn’t let the “nepo baby” stereotype affect his ascent. “Where I’m from, they’ve just embraced the fact that I’m from a musical [family]. For them, it’s like music royalty,” Ciza tells Billboard.  After performing in high school competitions with his rap group KIC (Kids in the City), Ciza went solo at age 18 and released his debut record, “House Party,” which grew popular among the local high schools. “I kind of had a child star moment,” he recalls. The following year, he booked a one-way flight to Atlanta, Ga. to attend Morehouse College to study business entertainment, but the pandemic derailed his plans. And Afrobeats’ global dominance made Ciza switch gears. “That’s when I was like, ‘Rap is not my thing anymore. I want to do Afrobeats,’” he says. “Afrobeats was taking over the world at the time. I was like, ‘OK, amapiano is the biggest thing in South Africa. But the people who are really doing it for me and carving actual superstars were in West Africa.’” After releasing the singles “Come Alive” and “Adje” in 2020, Ciza started making a name for himself a year later when he collaborated with South African superproducer and amapiano pioneer DJ Maphorisa (whose former group Uhuru produced his mother’s group Mafikizolo’s “Khona” smash) on the prosperous Afrobeats-meets-amapiano record “Bank Notification,” which was later included on Ciza’s debut EP that year, Golden Boy Pack. But with COVID-19 “[slowing] down the momentum,” he says, and Ciza struggling to find his sound in the market, he took a brief hiatus from releasing music. “This is when I fell in love with DJing and Afro house,” Ciza says. At the time, 3-step – South Africa’s latest dance music genre that is named after its signature three-kick drum rhythm and blends Afro tech, amapiano and broken beat – was bubbling, and Ciza was determined to put his own spin on it. With the help of producer Jazzworx and singer Thukuthela, Ciza created an international hit with “Isaka (6am)” in April. “‘Isaka (6am)’ is basically a prayer, me asking God, ‘Yo, I wanna become a better man for my son. I want to become a better man for my family. But I also want to live my dreams. Let this hustle be fruitful, and may people see my talent,’” he explains. The word “isaka” directly translates to the bag in Zulu. As for the 6 a.m. timestamp in the title, it either represents the time one gets home after a long day (and night) of work, or when one returns after spending their hard-earned money at the club. Either way, Ciza has played “Isaka” in the club at 6 a.m. and even later, “and in different parts of the world, too,” he chuckles. “My real name is a Xhosa name, Nkululeko, which means freedom. And I think that’s my purpose in the music industry: When I step on stage, when I’m on the mic, I just want people to feel free and set them free from whatever pain or heartbreak or bad thing,” Ciza says. “You can have a hit record that people can just sing along to, but having a spiritual song that heals is also a blessing.” “Isaka (6am)” spent nine weeks atop the South Africa Songs chart and has earned 81.5 million official global streams, according to Luminate (through Sept. 18). And with the help of some marquee DJs, and thoughtfully curated remixes, “Isaka (6am)” has also taken over the European scene. Black Coffee played the “Vanco Mix – In Joburg” version during his residency at Hï Ibiza while Ciza was behind the booth with him. And Keinmusik’s Rampa and Adam Port played the then-unreleased Major League Djz, Kidflo and Kotto remix at Brunch Electronik in Madrid and at Domaine National de Saint-Cloud in Paris. “This is the Renaissance period in African music, and personally, I’m so happy to be a part of it,” says Ciza. “People used to say, ‘Africa is next.’ I really do think it’s now.” Billboard spoke with September’s African Rookie of the Month about recording “Isaka (6am),” manifesting a collaboration with Omah Lay before he and Tems hopped on “Isaka II,” and Jimmy Iovine being an unexpected guest at his dinner with Black Coffee in Ibiza.  How much did your parents’ career paths in the music industry impact you to carve out your own? I saw my dad literally build superstars from home. He had so many different local South African superstars living with us growing up, [like the late Afro-soul star Zahara]. That definitely gave me a lot of drive, seeing all of these people go from zeroes to heroes, and some sort of dream of, “OK, this is actually possible.” From my mother, it was her stardom, her effort in making sure she is the best version of herself, and the amount of time she would spend on her craft. My mother used to make me dance at family gatherings. She would make sure I do school concerts and dance competitions because she always said, “My son, there’s something in you.”   Considering your father is your manager, what’s the most important lesson he’s taught you about the business that has stuck with you till this day? You have to want it the most. For you to be the best, you have to be

Tiwa Savage, often hailed as the Queen of Afrobeats, is stepping into a bold new chapter with her debut R&B album, This One Is Personal. Over two years, she poured her heartbreak, growth and resilience into a deeply emotional project that blends smooth R&B vibes with her Afrobeats roots. Explore See latest videos, charts and news Recorded across Nashville, London and Lagos, the album takes listeners on a journey through heartbreak, healing, and self-discovery. With live instrumentation and a vulnerability she’s rarely shared, this is Tiwa Savage like you’ve never heard her before. Billboard talked to Tiwa about what makes this album so personal, how London and Lagos shaped her sound, her love for classic R&B, balancing Afrobeats with vulnerability, collaborating with Skepta, and what heartbreak and success look like to her right now. You’ve been crowned the “Queen of Afrobeats” for years — but now you’re stepping into R&B with This One Is Personal. What made now the right time to make this transition? I think I’ve always shown that R&B, or rhythm and blues, soul type of music, was really the anchor of how I got into music. I’ve always said I was gonna go back to doing this type of genre fully, with my full chest, ’cause I’ve dabbled in it a few times with my other projects. But I went through a really hard breakup, and it was during the time that I was due to record this project. It just felt like the right time for me to pour out my heart, and this genre was the only way I could really express myself musically with what was going on in my life at the time. So it just felt like the right time. It felt like I was heartbroken into it. The title itself, This One Is Personal, suggests intimacy. What does “personal” mean for you in this moment of your career? It means letting the fans see a more vulnerable side of me. They’re used to seeing the African bad girl, the sassy, very confident woman — but this time around I’m allowing them to really see me in my really vulnerable state, in my true form. Even on social media, I do a lot of content where I’m not wearing any makeup and I’m just speaking directly to the camera, letting them see that side of me. This part of my career, this part of my life, is very personal, and I’m letting the fans see that side. You’ve just moved back to England. How has being back in London influenced the way you approached this album? I spent a long time in the UK growing up. It was actually in London that I really fell in love with music, when I first got introduced to soul and R&B. Going back to London was a full-circle moment for me recording this album, because it felt like home. Nigeria will always be home, but the U.K. is also like a second home for me. To be honest, I recorded this album in different places — Nashville, San Fran, Malibu, Nigeria, and London. But the U.K. was a full circle moment, because that’s where I first fell in love with music. R&B has always been a love of yours — you’ve mentioned Brandy, Tamia, and 90s R&B as key influences. How did those inspirations shape the sound of this project? Oh, you’ll hear the nostalgia on a lot of songs on the album. Even just in the vocal layering and harmonies, especially the layering. The intro to my second single with Skepta, “On the Low,” really gives an ode to Brandy. Her vocal layering is just impeccable, and that was me paying homage to her. Lyrically, you’re going to hear all the influences across this project. The first single, “You 4 Me,” samples Tamia’s “So Into You.” Why was that song the right one to reimagine for this album? There were so many, but that one… I don’t think there’s anybody that hates that record. It’s just one of those records you put on, it feels like summer, like barbecues, cookouts, parties. It just feels amazing. Like everybody else, I’ve always loved that record, and it was such an honor for me to sample it. It just felt right. I’ve always loved it, and I was so honored that I was able to use it and that the sample was cleared for me.  Which version do you prefer? The one with Fab or the original? The one with Fab — there’s just something about that one, man. I mean, the original is the original, but the one with Fabolous is just… ooh, that one. There’s not much difference, though. I don’t know, there’s just something about the way he comes in. It’s incredible. “I’m Done” is such a raw and emotional track — I heard you even had to stop recording to cry. How important was it for you to allow that kind of vulnerability into your music? Initially, we weren’t gonna use that song. It was off the project because I felt like it was too much, too deep. I wasn’t sure if it was too personal for anyone else to connect with. Eventually, the more we talked about the project and the songs that were gonna make it, everybody was like, this song has to make it, and it has to be the first song. It sets the pace for what I’ve been going through. Initially, it was hard for me to include it. Even now, when I listen to my project, sometimes I have to skip it because it takes me to a certain place that’s still really deep… But I’m so happy so many people are connecting to it. Even though it was so personal, they’re able to relate. So many people hit me up saying that record hits them so hard. I’m so thankful I put it in the project. Afrobeats is still at the heart of your artistry. How did you

When you’re riding the subway, Cardi B wants you to ask yourself: “Am I the drama?” If so, you might want to adjust your behavior. In a partnership with New York City transit shared by the MTA on Tuesday (Sept. 23), the rapper recorded a slate of announcements reminding riders of proper subway safety and etiquette. They will play over the speakers in numerous subway stations across the city. In an Instagram clip posted by the MTA, Cardi swings by the agency’s offices to recite the snappy PSAs into a microphone. “We’re walking here!” she says for one. “Steps are for stepping, not sitting. Move it, Bucko!” Another announcement finds the Grammy winner telling New Yorkers, “Stop subway surfing. Ride safe, keep it cute, and keep it moving.” “These trains don’t move without you, so make sure you pay that fare and keep it real,” Cardi adds in the video. The partnership comes a few weeks after Cardi hilariously walked through NYC subway cars to sell copies of her new album Am I the Drama?, which dropped Sept. 19. She also sold copies street vendor-style at one point, writing on Instagram at the time, “My label said I gotta get out in these streets and sell this album.” The Bronx native isn’t the first star to partner with the MTA. Last October, Billie Eilish teamed up with the agency to encourage eco-friendly methods of travel ahead of her show in NYC, telling New Yorkers in recorded messages over the speakers, “If you’re planning to see my concert this week, ditch the car and help the planet by riding the MTA to Madison Square Garden.” Watch Cardi record her MTA announcements below. Get weekly rundowns straight to your inbox Sign Up Source link

On the heels of releasing his The Last Wun album, Gunna has confirmed plans for a joint project with Offset, which he says is currently “in the works.” Gunna revealed that the collab album with Offset was on the way during his Apple Music Live celebration in Los Angeles on Monday night (Sept. 22), which found him in conversation with Ebro Darden, who teased the idea of a project with the Migos alum. “Definitely,” Gunna said. “Yes, it’s in the works. But I, like, we spacing it out. You know, he dropped his album, I dropped my album. I was on his, he was on mine. And I feel like that was sprinkles and breadcrumbs for us to give you that meal soon.” There had been rumors circulating about an Offset-Gunna joint album last year, as Set teased tracks featuring them trading bars on Instagram Live in October. He also hinted at cooking the joint project in an X interaction with a fan in February. The “Prada Dem” duo even hit the stage in Atlanta in June for the Hot 107.9 Birthday Bash at State Farm Arena. They continued to work while exchanging features on their 2025 solo albums, as Set appeared on The Last Wun‘s “At My Purest” and Gunna returned the favor on Kiari‘s “Different Species.” The duo has joined forces on numerous occasions in the past, while teaming up for “Prada Dem,” “Style Rare,” “Beat the Case” and “Wild Wild West.” Gunna’s The Last Wun album serves as his sixth solo LP, and the project debuted at No. 3 on the Billboard 200 with 80,000 total album-equivalent units earned. Get weekly rundowns straight to your inbox Sign Up Source link

Cardi B filed for divorce from Offset for the second time last summer, and more than a year later, the former couple’s split still isn’t finalized. While Cardi has moved on to start a new relationship with NFL star Stefon Diggs, she explained on X Spaces on Monday (Sept. 22) why the divorce filing remains tied up in the court system. The Grammy-winning rapper also revealed the alleged list of demands Offset had made before he agrees to sign the divorce papers, which she says includes paying his taxes and forking over one of their properties. “The only reason why I’m still married is because somebody wants me to pay for their taxes,” Cardi claimed. “Y’all wanna know the tea? The only way I can get out of my marriage is if I pay for somebody else’s taxes — even though I pay for my own — and give them one of my properties.” The 32-year-old continued to double down: “I’ma fight for that. This is not no love s—t. I’m not gonna stop living my life.” Billboard has reached out to Offset’s reps for comment. In the same Spaces, Cardi pushed back against those who are comparing her to Nick Cannon, a father of 12 children. “You can’t compare me to Nick Cannon,” said the star, who is expecting her first child with boyfriend Stefon Diggs. “I don’t got 12 different baby daddies. I got three kids with one baby dad. And I’m gonna have a new baby with another man.” In the same CBS Mornings interview with Gayle King in which she revealed her pregnancy, Cardi opened up about how she wishes her co-parenting relationship with Set could be better. “I just wish he was a better person, but it is what it is,” Cardi said. “Be a better person for your kids … I think he has some type of hate in his heart right now. If we all move on, there shouldn’t be no animosity. Your life, my life, separate. We should be able to raise kids. We should be able to ask each other questions.” Offset and Cardi began dating in 2017, before quietly tying the knot later that year. The couple have three children together, and Cardi pulled the plug when filing for divorce for the second time in July 2024. Cardi returned with her anticipated sophomore album on Sept. 19, which Offset deemed to be “hard,” as Am I the Drama? finally arrived on streaming services.   Source link

Last year, the Latin Grammys made positive changes: they added two new categories to the awards, best contemporary Mexican music album and best Latin electronic music performance, which both industry and artists received enthusiastically. They also announced that categories that received fewer than 25 entries would be eliminated from the running that year — and that categories that got between 25 and 39 entries would be limited to just three nominees each, rather than five. The rationale was to ensure competitiveness in all fields, which was another very welcome change. These evolutions represented a step in the right direction for the Latin Grammys, but following the announcement of the 2025 finalists last week, and the genuine puzzlement some of the category lineups generated, it’s clear a few more things have to change. The Latin Grammys The 2025 Latin GRAMMY Awards will air live on Univision on Thursday, Nov. 13, from the MGM Grand Garden Arena in Las Vegas. This year’s list of nominees is led by Puerto Rican superstar Bad Bunny, who received 12 nods for the awards ceremony, including for album of the year with DeBÍ TiRAR MáS FOToS and double mentions in record of the year and song of the year, in both cases for “BAILE INoLVIDABLE” and “DTmF.” These nominations add to the 40 he has received in the past, of which he has won 12 over the years. He is closely followed by acclaimed Mexican producer and songwriter Edgar Barrera and Argentine duo CA7RIEL & Paco Amoroso, each with 10 nominations. Following several conversations with artists, producers and executives in the aftermath of the nominations, here are five concrete actions that could move the needle in a positive direction for the Latin Grammys. We also revive one “oldie but goodie” —  a point we’ve made in the past, and feel compelled to make again. Eliminate duplicate nominations by the same artist in the same category. No one detail has generated as much negative buzz with these new finalists as seeing Bad Bunny and CA7TRIEL & Paco Amoroso, the leading nominees (with 12 and 10 nods each, respectively), each nominated twice in the song and record of the year categories, with tracks from the same albums. That development is particularly vexing given that the Latin Grammys have insisted on maintaining the pool of nominees in the Big Four categories (album of the year, record of the year, song of the year and best new artist) at 10 slots – arguing it allows more diversity into the nominations, even as the Grammys have gone down to eight. This development narrowed the inclusivity door by 20%. One source within the Latin Recording Academy said that they follow the same rules as the Grammys, which allow “up to two nominations per artist provided at least one is with a co-nominee.” In both these cases, the Latin Grammys are counting song co-writers and record producers and engineers as co-nominees. Regardless of the interpretation of the rules, the result is the same: the pool shrinks, and the vote is divided. Be consistent with nominations amongst categories. Let’s call it the Rauw Alejandro Issue. Several sources – some involved in the Rauw Alejandro album, but most not– wondered why his Cosa Nuestra was shut out of the best urban music album category, but was nominated for album of the year. Do the voting committees in different categories have dramatically different tastes? Regardless, the end result was the same: Alejandro’s album received just one additional nod, best reggaetón performance for “Baja Pa’ Acá” alongside Alexis & Fido. Consider top artist for those new categories (and for the Big Four, too). We will be the first to say that the new best contemporary Mexican music category was the most competitive of the year, ut not including Fuerza Regida’s groundbreaking 111PANTIA was a glaring oversight, particularly considering the album had the highest debut ever on the Billboard 200 by a regional Mexican music act. Ditto for ÉXODO by Peso Pluma, who has consistently gotten snubbed. Ignoring a movement doesn’t make it go away — witness reggaetón and urban music. Loosen the eligibility requirements for best new artist. As we have reported before, the Latin Academy’s rules when it comes to best new artist are very different from those of the Recording Academy, with a focus on spotlighting truly new and emerging artists versus rewarding artists who “achieve a breakthrough” during the eligibility year. We love that the Latin Grammys do this… but artists currently cannot compete for a best new artist slot if they have released more than three albums, more than 15 singles, or any equivalent combination. (The Grammys have “no specified maximum number of releases.”) That’s a tough limit in an era of streaming and social media, where emerging artists are looking to establish a following to land a recording deal. Upping the release cap to even 20 singles would allow more emerging artists to enter the running. Bid farewell to nominations review committees.  I’ve said it before, and I’ll say it again. In 2021, the Grammys eliminated their controversial nominations review committees, leaving them in place only for “craft” categories that require special know-how (think categories like best music film or best engineered album). But the Latin Grammys have not eliminated the vast majority of its committees, leaving the fate of many nominations in the hands of a select few.  It shows. While committees can provide valuable feedback on final nominations, with limited exceptions (i.e. very specific categories like flamenco or vallenato), rank-and-file voters should be the big decision-makers. Get weekly rundowns straight to your inbox Sign Up Source link

Behold, a new offering. As thousands of Sleep Token‘s New York Worshippers sauntered their way into Brooklyn’s Barclays Center on Monday night (Sept. 22), it was striking how diverse many of Vessel and Co.’s loyalest followers were. Explore See latest videos, charts and news There were the truly devout: those doused in ethereal black cloaks, fishnets, lace, masks and sparkling jewelry (I watched as one especially pious fan was forced to exit and re-enter the metal detector four times, handing off more and more gold jewels to the security guard as she went). Then there were the tattooed 30-somethings, the gothic couples decorated in matching black lipstick and jet-black hair, the fans in button-up shirts and shined shoes who had clearly just come from work, and the Gen X husbands-and-wives with their angsty teen children, eager to see what all the hubbub was about. If I were the deity Sleep, I’d have been pleased with how many vastly different people had gathered to worship in my name. Sleep Token’s packed, sold-out Barclays Center gig came as no surprise, considering the astronomical few years the anonymous rockers have had. Their last album, Take Me Back to Eden, hit No. 16 on the Billboard 200 back in 2023 — an impressive feat, considering all eyes were on Hip-Hop for its 50th birthday. Their fourth and latest album, Even in Arcadia, which was released in May via RCA Records, then hit No. 1 on the Billboard 200. All 10 of its tracks also appeared in the lower half of the Billboard Hot 100, cementing the fantastical group as crossover hitmakers. That diversified appeal was evident in the fans’ varied Sleep Token introduction stories. After Thornhill’s rockin’ opening set brought the venue to life, I listened as two Worshippers swapped Token tales. One of them had stumbled upon Sleep Token at a music festival a few years ago and had been hooked on the band’s teachings ever since, while the other had flown to New York from rural Texas just to be at the evening’s show. It was his first time ever in New York. After an hour of gabbing, the curtain finally descended, and the opening chords of “Look to Windward” began to twinkle in. As frontman Vessel’s vocals filled Barclay’s halls, the veteran simply said to the novice: “Enjoy the ritual!” The ritual was electric. Aided by the Espera vocal trio, Sleep Token’s songs filled the stadium with ease as Vessel screamed and crooned his way through the band’s biggest hits—from “The Offering” to “Caramel” to “The Summoning.” The guitars and drums chugged along in tandem, as each band member casually wandered across the surprisingly detailed set, which included rocky levels, spitfire lasers, and even a fully functional waterfall. Vessel also hit plenty of what have become his signature hop-skip dance moves, his vogue-inspired posturing, and even gave IV a full-blown back massage while the guitarist shredded his way through his “The Summoning” guitar solo. The lighthearted juxtaposition of Vessel’s stage presence with the moody and solemn nature of Sleep Token’s music served as a good reminder that, even apart from all the lore, this is just a really solid rock band with songs that pack a heavy punch when performed live. Vessel never addressed the audience, and there was no “thank you, New York” as the band departed, but the fans — who screamed out every syllable and moshed through the biggest drops — didn’t seem to mind. The songs carried a bigger emotional meaning for Sleep Token’s fans, and in classic Token fashion, the band presented itself as merely a delivery system for them. Source link